Showing posts with label libretto. Show all posts
Showing posts with label libretto. Show all posts

Easter, an opera by Link Starbureiy

Composer+Librettist: Link Starbureiy
ISMN: 979-0-800136-00-9
Draft: August 3, 2017&

☎️Jobs | 🛒Shop


SLIDEDECK (download 2.63Mb)



Synopsis

Easter is an opera about sacrifice+redemption in the coming-of-age of juking [++feasible jukebox use cases // here, the subject is Parkinson's disease, and we are juking the proteins alpha-synuclein, parkin, and Htt // I personally think that the ideal drama for telling it non-generically may be The Detective (TD) canon, and the best vehicle (because of the scale and necessary visual effects) is via cinema🎞️].
UUe

"Joe Leland vs. John McClane"*

The prelude of its five-chord arc~, Die, Detective!, focuses on the interrelationship between law enforcement and corruption within the justice system as a whole in contemporary Philadelphia, where the reactions of a framed sleuth, Easter (Joe Leland), lead him out of retirement and into a war pitted against the most formidable foe - himself. All cops secretly want to die on the job, so they say. Die hard, John McClane.Arc: Easter:Die, Detective!Easter:ChordNEaster:ChordOEaster:ChordAEaster:ChordH Tagline

Note (+): Easter:Die, Detective! is in some ways heterotic; an operatic synthesis where Easter (Joe Leland) polices a hybrid storyline set in the modern world. It has continuity (courtesy of common characteristics), but is not a proper sequel, per se; instead it's a standalone adaptation/rendition/reimagining.  ..an aside, I subtitled this 'Die, Detective!' (TD7) as an amalgamation of the books from which they were taken: 'Die Nigger Die!' and 'The Detective'. "Die hard, John McClane." was made into a verbatim [theatre].


Including the Die Hard™ (DH) anthology (NLF+), The Detective franchise is one of the most popular and best-critiqued[1] series in cinematic history. Spanning seven (7) films (six sequels) over the course of fifty (50) years (1968 - 2018/9), the series has a non-linear storyline centered around police detective, Joseph Pascha "Joe" Leland, his sometimes alliances, frequent mishaps, steady heroics, and they mostly follow a standard formula:
- our protagonist typically starts out wearing a clean shirt that gets progressively dirtier throughout the film (a cinematic timeframe of no more than 12 hours) until it is noticeably filthy
- some antagony introduces itself that constricts a situation, usually forcing the hero to react (thereby getting his shirt dirty in the process)
- a spectacular climatic distress sequence ensues.  Here are those scenes from the middle five (5) films in the series:

The Detective has been and is a portrait of sensational thrills that gently samples high-technology in its sequences [eg. the touchscreen in the Nakatomi Plaza lobby (TD2), the fax machine (TD3)].  In bringing it to a close🔒 after its fifty year run*, I propose a few things, two (2) of which are: the exploration of a backstory for the sake of character development, and the introduction of substantive dramatic elements.  Logic dictates that, if either of those things is missing from a closure🔒 piece like this, an opportunity to tie up loose ends in the narrative would have been forfeited.Trivia: 2018 marks both the thirtieth anniversary of Nothing Lasts Forever (DH movie) and the fiftieth anniversary of The Detective (film).

The insertion of the word 'Pascha' was my doing, thus giving him a middle name that was absent in the literature and did not exist anywhere in the canon. Linguistically, 'Pascha' is the Greek equivalent of/to 'Easter'. I also gave him a birthdate of April 10, 1955 (an Easter Sunday). Now we have a point of reference as to why (the arc of) the opera is called what it is.

There were some clues left by Thorp about Leland's military career and personal relationships. The drama delicately navigated around the detective's issues he was having with his wife (Karen Leland who was an infidel and went on to leave him) and later daughter (Stephanie Gennaro with whom he had a strained relationship).

When we first meet Karen via flashback, she is a thirty year-old single (unmarried, no children) lady being courted by an even (7 years) younger Leland. As a couple, they are on the cusp of wedding, but Leland needs more convincing, as he is very early into his career in a new city (New York City). She desires the commitment a traditional band represents so that her children won't be out-of-wedlock bastards, as to maintain her Ecclesia Catholica covenant. I think that the difference in age between the two forces her to pressure Joe into doing something he is not wholeheartedly interested in at the moment, and this is a source of resentment on his part.


I don't envision just collating subplot points from prior entries, but to look altogether retroactively at Thorp's literary interpretation of The Detective [some time around which Leland retires, hence, the events of Die, Detective! would hypothetically take place before and leading up to Nothing Lasts Forever (NLF*) -- this episode (which opens on Ash Wednesday) is set twelve (12) months prior to NLF]. From there, I have interwoven those minor elements into the major tapestry that is this opera.NLF=DH=TD2

Note (+): The novel, The Detective (1966), was translated onto screen as a movie of the same title in 1968. It starred Frank Sinatra as Joe Leland. Later (1979), a sequel was written for it called, Nothing Lasts Forever. That was made into the movie 'Die Hard'(DH:=NLF). Sinatra rejected reprising the role because he felt that he was too old to play the part again (1988), so the studio eventually chose Bruce Willis. In doing so, they edited parts of the book's storyline around in an effort to modernize it. One of those changes was Leland being renamed 'John McClane', and the character portrayed as more youthful. But for all intents and purposes, 'Joe Leland' and 'John McClane' are the same cop in The Detective universe.

Nothing Lasts Forever is actually the dénouement of the dramatic arc (told as Easter:Déjà Vécu).


The hardnose behavior and sardonic temperament of our maverick detective is risque, to say the least, and has been valued as an asset among fans.  He has been used to represent the everyday man who perhaps could not say and do things that were otherwise unfashionable.  His exploits and adventures throughout the series have touched on sensitive topics, such as homophobia (TD), racism (TD4), xenophobia (TD6), and large-scale domestic terrorism (TD5).  The audience knows what they are getting with Leland; it revels in vicariously helping him sort through the predicaments he faces with the expected outcome of a better day lying ahead because he just surmounted the odds.

... and that is where we find Easter (Joe Leland) today, an elderly man with one (1) more trick up his sleeve on the brink of receiving his due pension, but genuinely unsure of whether the odds are still in his favor.  His insecurities stem from years, .. decades of having rubbed people the wrong way in order to answer the calls of duty that may never add up to anything more than a thankless job. A miserable alcoholic, he drinks* away personal demons thus becoming his own worst enemy in geriatric anger, and now, in an effort to salvage his reputation, is in a war pitted against the most formidable foe - himself.His personal favorite is a brand of DIY rum called Hubert Brown😉. (Drink responsibly.🥃)

To put it bluntly, he is a bonafide flush and it shows. Lack of self-discipline in regards to drinking and its damaging effects has ruined his relationship over the years with his children. Factor-in that his pride, has, in the past, refused to let him get the professional help he could so use, Easter is not making long-term plans because he secretly and instinctively knows that the poison will consume and ultimately get the best of him in his already downward spiral. He is borderline suicidal at this point in time; some days he finds his lonesome actually trying to drink himself to death, perhaps as a coping mechanism for dealing with the onset of Parkinson's Disease. With extreme reticence, he's returned to Philadelphia (where he was born and briefly employed for the first part of his rookie year before accepting an offer from the NYPD) from his months-long sabbatical in the Rocky Mountains so that he can "rebuild some semblance of a social life". In truth, he's looking for redemption. We are to believe that the only thing keeping him 'going' is the practice of pseudo-parenting he gets by boarding three (3) Indonesian college students while hoping for reconciliation with his estranged family, although he is enjoying his new toy jukebox😇.

Since becoming a sexagenarian, he's done plenty of self-examination, and has grown sick of the life that he has lived as an adult. After filing his resignation, he immediately moved to Small, Idaho for a refresher. While there (for roughly a year), he discovered that he no longer has any desire to protect anybody outside of his own interests; he wants little more than to free himself from the burden of representing the law. Other than the decent pay (saved up from the PPD job, he hopes to use his earned pension ($$) to purchase a large huckleberry farm in Western Montana and grow a family business, but this may be a pipe dream, health diversion, or both), he despises everything that the security industry stands for, and is starting to side with those who have been historically oppressed in this country, especially at the hands of what his chosen profession represents. Self-inflicted incredulity has him feeling almost ashamed to have ever been involved in the capacity that he was. At this stage, he is an über-seasoned veteran at the end of his journey anxious to tip the fedora.

Some might conjecture that he suffers from White guilt, but that isn't my aim with Easter. It would be easy to deduce this because of the relationships Joe Leland has had throughout the series. Pointedly, Al Powell (now his seasonal fishing buddy on the Clark Fork since the turn of the century) and the driver, Argyle, were two Black guys who befriended him in the first NLF movie. Also, in the third movie, there was a pronounced buddy-cop vibe between his character and Zeus Carver (trivia: that storyline was originally shopped to Warner Bros. studio executives as a Lethal Weapon sequel, where the leads were a White [Martin Riggs] and Black [Roger Murtaugh] male duo. It was backburned, later acquired by Fox studios, and rewritten as Die Hard with a Vengeance), so we can assume that the detective has at least a soft spot for working alongside Black people.


In today's current social climate, pockets of once-latent animus are spreading across the globe - be it from shifting politics, stances on immigration, bigotry, or what have you - engendering bunches of armchair heroes and keyboard⌨️ warriors; cowards in need of a figurehead they can galvanize behind until their version of order is restored or parturitated.

villainy

Easter:Die, Detective! takes place in Philadelphia Unless things are under control, then things are out of control. What we have here is a major city (Philadelphia) on the brink of chaos. There has been yet another incidence of fatal violence committed toward an unarmed and presumed innocent minority at the hands of law enforcement, this time, they belong to Easter's own partner, Bunny (Mika Petrakis). This miscarriage has put the whole town - already fragile from previous similar occurrences across the country - on-edge. Unfortunately for said law enforcement, the difference between other jurisdictions and the City of Brotherly Love is that she lives up to her reputation as being the most blue-collar, no-nonsense town in America, totally intolerant of brutality towards its citizens by those who have taken an oath to protect them. They have social media and a backlog of public case studies replete with examples of no justice being brought to officers in the courts of law. Now, where there was hope and maybe even expectation of a drawn out trial that could potentially result in an acquittal, certain neighborhoods - exhausted from fighting for very limited resources, have other plans for dealing with the perpetrators.

Bunny is an ambitious rookie cop (first year on the force) who is fresh off of a murder case she just helped solve.
Harkening back to Thorp's original Detective plot somewhat, the case that has just been closed🔒 after a six (6)-month investigation involved a brutal murder (victim's head crushed, mutilated genitalia, beating, etc.) in which Petrakis has just deciphered clue codes. In this version of the storyline, it turns out that the victim was dating the daughter of the mayor. There are suspicions that Bunny had been involved in the crime from the start, and was protected by the mayor himself as a favor. Hence, we can see why she is rising in the ranks rather quickly.

I envision her in the mold of Mark Fuhrman, the notorious detective from the infamous O.J. Simpson murder case. -- a snurky dude with a personal vendetta who was willing to plant and tamper with evidence that could have damaged an investigation -- she was also drawn from the Tulsa-based officer, Betty Shelby, who was arrested and tried for manslaughter in her case for murdering Terence Crutcher🙏 (watch her run from the courthouse after the verdict). In fact, it was the outcome of this case that prompted me to write the opera. Tulsa has a history of profound racism against Black civilians, dating at least back to the Black Wall Street massacre (1921). What struck my chord was the fact that Shelby and her partners (ground assist and helicopter pilot husband) had the cameras turned off leading up to the execution, and then the coroner compounded that by testifying that the victim (Crutcher) had narcotics in his system.


As an aside - a word about character development - I changed 'Michael' ('Mike Petrakis' was the name of Leland's partner in The Detective) to 'Mika' because 'Michael' means "Who is like God?" in Hebrew, whereas 'Mika' is Native American for "intelligent raccoon"[1]. She is definitely not god-like, nor does she try to be, but she is very clever (or at lease thinks she is). -- There was this White girl I had gotten to know for a short while when I was eighteen (18) or so that was a real bigot, super-racist. I was more ignorant to and fascinated by that stuff (White racism) back then to the extent that I am now, and she let me essentially document her (I had so many questions). It turned out (as I later learned from another Black guy) that before she became a vitrioled person, she was romantically involved with a Black fellow (not me or anyone I knew) and their relationship went sour. When she and I knew each other, she had a "redneck" (her words) boyfriend that "would spit on interracial couples" (he also "drove a big truck") and was really proud of that. My documentary of her stuck with me, and this is how I imagine someone like her could turn out to be. -- Except that this gal (Bunny) is on the clock (she has political bosses), and that makes her extremely dangerous.

Her characteristics also loosely incorporate the Rochelle Ciardello angle from DIE HARD: Year One comic books. In that story, she - Shelly - was the abused wife of Russ Ciardello, a dirty and damaging cop. It is implied that she slept with his partner, Peter Noonan, because their marriage had hit a figurative wall. All three parties involved were sleazy. In the opera, Roscoe fits Peter Noonan's profile (Roscoe was a police academy graduate and actually recruited, but never accepted an offer); he and Bunny at some point were lovers.

There is a new assignment for the talented young officer who is being quickly promoted through the ranks: bring Roscoe, the mid-Atlantic's most dangerous gangster, to justice. Doing so could lead to great rewards and coveted recognition that comes along with it. With the assistance of her connections to the city government and dubious ties to the criminal underworld, this shouldn't be a problem, and wouldn't be if she can just do things her way. Having been recently partnered with retired lieutenant Easter (who is supervising as part of his exit interview requirements so that he can receive his full pension), Bunny surmises that the most opportune time to test the limits of her authority will and has come while under the tutelage of one of the most controversial officers in this country's history. On a routine traffic stop, and doubtedly 'fearing for her life', she opens fire on a seatbelted father and his young daughter, killing them both. With no witnesses other than an unwitting Easter, the department and city are left with the difficult task of explaining and defending this tragedy to the public. Questions arise: is there innocence in this case, and where to place the blame? -- and are answered quickly: blame is placed squarely on Easter, framing him. Furthermore, because of what appears to be a curtailing of a kingpin's business dealings, a hit is put out on the detective's life, endangering him.

Easter had little idea that his assigned mentee was a slimy, full-fledged racist, nor did he understand how deep corruption ran throughout the city's major players from top-to-bottom. Nonetheless, this episode has triggered an intense flashback to the MOVE standoff and shootout event that shaped him during his own rookie year in 1978 as a beat cop in West Philadelphia, and an unresolved issue from his own military past (he went AWOL as a helicopter pilot in the U.S. Coast Guard before becoming a policeman). Now, with a special political election underway, the town's entrenched power elite are out to protect themselves from this rising menace (potential civil enmity) at considerable cost. Their tentacles run deep. Easter's entire precinct [spearheaded by the Chief of Police, Lent Goode (Tom Farrell)] turns against him (forcing him into absolute fugitivity), leaving him embroiled in a search for the truth about his colleagues, the city, and own future.

An old rivalry is rekindled as the mysterious Mr. Alphabet and his conglomerate, Nile LLC, steadily move into town in search of a second headquarters. The local magnate, Maundy, feels that her business dealings may be threatened by the arrival of the new enterprise, and looks to act quickly. In opposition to her, the city's emeritus district attorney, Marty Abrams, seeks to oblige the requests of Mr. Alphabet, which entails cleaning up the streets of crime, poverty, and foul activity. Maundy, who has puppeteered thugs and drug lords to do her bidding in the past, once again encounters her legal nemesis, except that this time - in the midst of an important political election - the stakes are much higher. Meanwhile, Roscoe is on the hunt for city personnel who could thwart him. The DA office responds to the very serious potential challenges posed by the kingpin by placing Marty in the care of Easter (Joe Leland) for the time being.

There is an impending multi-year, very large monetary foreign investment that is due to the City of Philadelphia over the span of the next five years with the first installment due at the end of the upcoming first quarter (March 31, nearly coincidental with Easter holiday), and the investor(s) (an alias known as "Mr. Alphabet") is adamant about moving their people and business assets into a "cleaned-up" town [Philadelphia is desirable because it geographically sits at a port between the world's political capital, Washington, D.C., and also its financial capital, New York City, which goes along with theirs and Maundy's trans-Atlantic freight plans (it's also where I was born😜)]. The sooner this can be done, the better. To them - in opposition to the incumbent administration - this means ridding (or at least substantially thinning) Philadelphia of its Black demographic, to which they attribute disproportionate crime statistics, over-reliance on government assistance, non-shrinking poverty, and hastened artificial decay ...just a drain on society. While this may or may not be correct, these transactions have been under the watchful eye of a few influential persons who support the 'live and let live' philosophy; especially a 'citizens-first over foreigners' mentality. Ironically, all of this is being sold to the public in the name of 'diversity'[i]. That in itself causes a rift amongst the city council [board members], and ethnic crime bosses - themselves promised favors - pounce to capitalize on the discord.

None of this sits well with Easter, who, in tandem with a slough of other personal dealings, is finding it surprisingly difficult to cope with being the witness to this murder. Blackmailed, he is given a tough choice by the higher-ups: cooperate with authorities and help them push-through these very lucrative contracts in return for the assurance of a peaceful and rewarding retirement (which is active), or die under not-so-mysterious circumstances. Not that he would mind, to be honest - considering his current bill of health, but there's no honor in that.

--

Attribution: this brand of 'go looking for it and you will find it' corruption is slightly borrowed from the Philly-styled dramatic narratives presented in the Badge of Honor novels by W.E.B. Griffin. --- At the time of all these wicked police shootings between 2012-2016, my cousin wanted to join the PPD. He's got a good heart but poor vision (he also had bad credit which automatically excluded him). I personally thought he would make an outstanding officer (depending on where he was placed), so he and I would do separate case studies analyzing each nationally sensationalized homicide, wondering what would be different if any had occurred in the Delaware Valley (the Freddie Gray [Baltimore] and the Eric Garner [Staten Island] cases were close, but no cigar). Parts of our hypotheses came from watching the television show, Cold Case (which took place in Philadelphia), as well as familiarizing ourselves with Griffin's books.


Note (+): The Shootout of 1978 at Powelton Village house at 311 N 33rd Street in Philadelphia was factual. Putting Easter in that time period is due in part to the line from Die Hard where our protagonist mentions to a fellow passenger that he has been a cop for eleven (11) years. Since that story (movie-wise) took place on Christmas Eve (1988), I assume that he would have started on January 1 as a rookie cop in 1978 (Christmas 1977 would make it thereabouts).

Thorp's depiction of Joe Leland being a military pilot is found in both The Detective and Nothing Lasts Forever. I characterized him being a Coast Guard (search+rescue) due to the fact that a police officer of his caliber may have had 'save first' instincts before working as a sleuth.


Enter Fer.

In the wake of this, we have a civilian, a man named Fergus, who, having been disillusioned with authority after his own recent encounter with the legal system moved him beyond reproach, devises a plan to carry-out what he sees is the only logical solution to stop and prevent any further foul play against his community - the killing of all police officers, and the dismemberment of local officials (eg. elected officials, ombuds, prosecutors, etc.) for whom they serve. To make matters worse, he is even willing and competent enough to take his cause further - orchestrate an all-out war against anybody who is in disagreement with his self-reliance/self-preservation, protectionist philosophy. Inevitably, random persons are made at fault and no one is a safe target, but by billing himself as the "bringer of dawn", this 'manifestation of abuse' can rationalize being his own judge+jury (however sadistic) by using the 'survival of the fittest' evolutionary tactic so that he can 'begin anew'.

"Ares: I thought you killed all of the cops?
Fer: I did ... well, accept for one.
Ares: Who's left?
Fer: John McClane."


I wrote Fer to be perhaps the nastiest, most vicious antihero ever. Even though the character is definitely the antagonist, I refuse to label him outright villainous because he is reactionary; had the others not done what they did, there would be no cause for him to take action. He views himself in prophetic taste like Moses; wanting to manumit his followers from the stronghold of socio-economic oppression and is completely sold on the movement.

In creating him, I referenced source material from Hubert Brown's autobiography, experimenting with what the fervor from a die hard (pun intended) political activist could have been like in 1960s America, while at the same time borrowing some traits from characters in movies and television shows dealing with inner-city gangsters and the drug game (I especially was influenced here by Jamie Hector's characterization of Marlo Stanfield in The Wire and Curtis "50 Cent" Jackson's psychotic 'out-for-revenge' portrayal of Kanan Starks in seasons one and two of Power), Dumas' The Count of Monte Cristo (hence the oft-repeated "I have a Black friend, his name is George." line), elements of spaghetti westerns (particularly the 'lonesome dove' act of Clint Eastwood in the "Dollars Trilogy" along with the swagger of Roy Rogers), and also the slaughterhaus of Jason Voorhees.


Every so often somebody comes along who turns the game on its heels; completely changing the status quo, more often than not for the better/best. This is why it's so difficult to pin labels on these characters when you can clearly see from where they are coming, and to some degree, going. However, the mastermind behind all of the drama won't be revealed until the epilogue (per usual).

heroics

To reiterate, it's impossible to point to a person and say "they are the hero" in this piece, for both sides have selfish interests. As we dig more into the detective's biography, we learn that perhaps he's been coddled by the police force for so long that he's become used to working in an air of privilege. Even though he may think that he is doing the right thing in 'fighting bad guys', his inclination for careless destructive behavior (massive property damage, etc.) and homicidal tendencies show that he is really no better than the other side of the coin, figuratively speaking.

What we do get to see, though, are the real detective skills of Easter. Dramatically, his character is fully developed here. There is clear and present danger that, for the most part, only he can address, and if he does his job, he ultimately becomes a protagonist. If he fails, then we are left to ask what constitutes a 'good guy' anyway(?), and moreso, are patrol police people necessary in today's world where artificial surveillance is so prominent?

How to present our detective doing detective-like things was tricky to accomplish. On one hand, The Detective was written at the tail-end of the film noir age (the screen adaptation looked it), and that style is something I wanted to mimic in this picture (for purposes of continuity). On the other hand, that style looked 'classic' precisely because it didn't emphasize technology, which is taboo here. So, the decision was made to just let Leland be as comfortable as he wanted with his toys. Otherwise, you risk having him rely on Columbo-type detective work (where clues come out of nowhere), leaving the audience to do too much thinking on their own. The telepresence route is better because the audience gets to see exactly what he sees.


The real hero is actually the jukebox, UUe. As an appliance, it presents workable solutions to poverty problems that are so rampant and counterproductive. It also gives a roundabout answer to the awful political system that has hijacked the city government (which has been under a hostile takeover ever since foreign investors successfully bribed leadership).

drama

In Die, Detective! (DH6/TD7), Easter faces easily his greatest test yet ('Die Hardest'?) as he seems to be getting it from a myriad of angles; he is under siege from a number of threats: Fer, Maundy+Marty (who embody the municipality's perfidy), his own family, past haunts, the uphill battle against substance abuse, and, sadly, the debilitating effects of aging (specifically his deterioration from Parkinson's). I (and this may be just me) liken it to a Batman storyline where the so-called 'Caped Crusader' must square-off against foes from his rogues gallery in the same paneling. Something like Batman (also a vigilante detective) versus a concerted Joker, Penguin, Riddler, Catwoman, and even Robin all at once. This is serious.

There is a slight chance that some people may make it through the opera and not know what's going on. For them, I want to state that the story (its arc) centers around re-birth or renaissance after dealing with the repercussions of careless vice. In this first chord, the detective is in a fight with himself ("Joe Leland" versus "John McClane"). His challenge is to remove the mental and emotional shackles (ie. the evils of alcohol) that have been holding him back from being a healthy person since he was a young man. To accomplish this, he has to accept that his choices made him who he is - for better or worse - and then he can get off the road to perdition.

This concept of "J vs. J" (an internal struggle) is partly due to listening to Usher's song, Monstar, off of his Raymond vs. Raymond album (the dopest track on there, in my opinion👍🏿). Although his circumstances and reasons for creating that music are completely different from what I'm doing here, the germ is identical: there's a monster in all of us that needs to be addressed and destroyed, if possible. Additionally, I've been rocking Lalah Hathaway's 'Separate Ways' since 1995 (right after I saw TD4, I had visions of making something like this), and that song and its lyrics (Keith Crouch produced a gem👌) kind of underline my thinking process.


This is the "Battle for Philadelphia" (that's what I'm calling it). Here we have a civil war in effect. Even though it (urban guerilla warfare) takes place over the span of a single Good Friday, the causes of it have been brewing for at least some years. All of these sensitivities are brought to the surface in this piece where over a million people (~2/3 of the current population of Philadelphia) perish, and the audience will have to choose a side.

When The Detective and Die Nigger Die! were published in their respective years (1966 and 1969), the country was in a tumultuous period fraught with political assassinations, coping with extreme racial tension, at war overseas, and a number of other evils beyond the scope of this footnote. Die, Detective! is a loose continuation of that era (albeit brought into circa 2018-2019). It is with reservation that I offer admission of this story devolving into a civil war [I do not advocate hate or hate speech]. I had to write it so that such a conflict would be inevitable.

People have been harboring these sentiments for however long. Even if you think you're better than what meets the eye in Easter, this story will take you there, so to speak. I made sure that there was a lesson (to be) learned here, though, which is that poverty breeds crime, and crime unleashes ill-will, and that none of it is good. My ultimate hope is that we come to understand that these are problems that need technological and economic solutions; you can't exactly legislate your way out of stubborn social destructs.


My outline (six-act structure*) for the first chord is as follows:
A dyadic three-act structure.
- Act 1: remembering sad holidays [prologue]
- Act 2: monstrosity is a tendency
- Act 3: hallucinating from hallucinogens leads to hallucination [crescendo]
- Act 4: dirty shirt
- Act 5: of death and the detective~ [denouement]This is where the opera derives its title. Alcohol is arguably the main character in this part, and it's the detective's abuse of it (his "elixir" as he calls it) that has to die in order for him to finally be able to accept his reality (one must and will kill the other). Easter🐰🐣 (a synonym of "Pascha", Leland's middle name) represents the theme of a rebirth/renaissance (which is prevalent throughout the entire opera), so to speak. There is an incidental religious (Christianity) undertone here, considering that his name is Joseph/John, and these events happen near Easter (actually on Good Friday) in Philadelphia, but that's unintentional and certainly not stressed.
- Act 6: Pillowsoft [epilogue]


Tech targets

With the opera's first chord, Die, Detective!, the hope is to produce some novel and original research pertaining to the biochemistry of the proteins alpha synuclein, huntingtin, and parkin. Particularly, we wish to understand how those polypeptides fold and are distributed in the brain. A technological corollary would be a walkable model of synuclein.

Human α-synuclein is a modestly-sized (140 amino acid residues) unstable protein, and so modeling its isoform(s) could prove to be vastly computationally intensive.

UUe.i is an artificially intelligent preimage-image compositor native to distributed computing. The ai will do two (2) things here: (1) be a background embed that pulls+loads idle compute resources for processing, and (2) provide visual ventriloquy [+training] for image classification+mapping onto an actor in the capture pipeline.

+ Parkinson's disease research
In cooperation with The Michael J. Fox Foundation, we are involved in the study of better understanding Parkinson's disease, a debilitating degenerative neuropathology. Also of interest are potential therapies to relax symptoms.

One of the things I wanted to do in this first chord was bring attention to neurogenerative diseases in a big way. In the Die Hard stories, which demand that we suspend our beliefs, John McClane has been rather physical throughout the series, bumping bodies and heads with both moving and static objects that would seriously harm a normal person over a movie timespan of thirty-plus years. In reality, as evidenced by replete cases of pro football players left with concussions and brain damage, the kind of beating that McClane has taken would likely leave an old man with some serious (physical) health side effects. Suffice all that to just a well-known resultant, Parkinson's.



Cast+Crew
@Attention: casting call announcement📣

(Legend: CONFIRMED)
/[ensemble]
- Bruce Willis& as Easter (Joe P. Leland), a notorious retired police lieutenant[description:= White male, 60-65 years /// character:= aged+diseased, grossly flawed and deeply insecure, drunk, instinctive and experienced, now at the stage where he is remorseful, relocated/switched cities (NYC→Philly) to be closer to his kids (daughter in Chester and son in Maryland) 'just in case', a severely skeptical Irish Catholic]Willis' likeness is conveyed with ventriloquy by Ross Marquand, as necessary (flashbacks).
- Glenn Close as Maundy, very powerful mob boss[description:= White female, 70-ish years, Swedish heritage /// character:= cunning, works behind-the-scenes (doesn't use own products or get hands dirty), hates repeating herself, territorial, competitive, proud, immediate, regal, eye on the big picture, she's committed to her business (moonlights as a shipping magnate) and lives by the pericope 'You deserve what you let happen to you.']
- Link Egglepple Starbureiy's signature motifLink Starbureiy[i] as Fer(gus), the antagonist[description:= Black male, 30-40 years, this guy's resemblance to Link Starbureiy is uncanny😉 /// character:= ruthless, bellicose, not easily fooled, fearless, and on a crusade for freedom]
- Dianne Wiest as Marty Abrams, emeritus District Attorney[description:= White female, 70s years /// character:= a deadly prosecutor (frequently seeks the death penalty for the convicted), running for mayor in this special election which she is campaigning for "redevelopment", a greedy IJ Syndicate holdover from the Frank Rizzo era, modeled after Lynne Abraham]
- Marc John Jefferies as Roscoe, kingpin drug dealer[description:= Black male, 25-30 years /// character:= former police academy graduate+recruit, now a wanted criminal (for murder and narcotics dealing) who is the subject of a joint PPD+DEA hunt (and has been for many months), the biggest drug dealer in Philly and feared leader of an extremely violent criminal network arisen from Camden slums]

/[supporting cast]
- Reginald VelJohnson as Al(ven) Powell, retired police sergeant having a decades-long friendship with Easter[description:= Black male, 65-70 years /// character:= a happy-go-lucky retiree who is always there when you need him🙂, his only real concern these days is for his nephew, Albert, who is following in his footsteps and joining the TPD, enjoys his hobbies and spending time with his grandchildren, resides in Babson Park, FL but is visiting family in Silver Spring for the holiday and Easter's badge honoring party, bothered by a nagging spider bite that is restricting his ambulation, probably the sole person with insight into Fer's playbook]
- Egg (Joseph "Joey" J. Leland, Jr.), intelligence operative and only son of Easter[description:= White male, 30-35 years, fit /// character:= travels frequently in search of more than just tech-installing for his job assignments, fallen out-of-favor with his mother and wary of his dad because of doubts of paternity, yet can't ignore evidence of similar behavioral patterns, a boy scout/G.I. Joe-type]📣
- Bunny (Mika Petrakis), trainee of Easter[description:= White female, 22-25 years, thickish build (5'7'', 140lbs.-- must really be able to "squeeze in them jeans"), strong features of her Greek/Mediterranean heritage (dark hair/eyes) /// character := she looks nice but she's not nice, sly, bold, opportunistic, a cold and conniving dyke]📣
- Eógan Tyrone, mayor of township[description:= Black male, 60-65 years, must be able to nail the Philadelphia accent /// character:= privileged, seasoned, aggressive, and power thirsty, a typical two-faced political bullshitter, a hypochondriac]📣
- Stephanie "Steffie" Lucia, only daughter of Easter and older sister of Egg[description:= White female, 30-39 years /// character:= independent self-made adult on the cusp of 'finding' herself, employed as a clandestine agent (and that's all we know), sides with her mother in despising her dad but would be unsure why if she did some self-introspection]📣offered to Rumer Willis
- Sinqua Walls as Ares (Red* Horseman), one a Fer's henchmen[description:= Black male, 30-ish years /// character:= an architect apprentice, professional student-type, humble and milquetoast, takes orders well, is afraid that maybe both sides of the fight are equally wrong]
- Rusty Schwimmer as Wendy Roberts, civil servant and in-house Doctor of Psychiatry[description:= White female, 50-55 years, heavyset build /// character:= a lonely hopeless romantic (who is just now starting to accept that men never cared about her credentials), professional to a fault]
- Eddie George[i] as Iggy Veracruz, Navy SEAL special ops commander[description:= Latino/Hispanic male, 40-45 years, Central American heritage /// character:= a Texas-bred, tough-as-nails/'hard ass' field general]

/[auxillary cast]
- Carl Weathers as Reverend Dominique McClane, neighborhood deacon[description:= Black male, 70-ish years /// character:= he can preach until the moon turns blue, but is deep-down tired of the choir itself, lately finds himself babysitting Tharbis' kids, he's been waiting for someone like Fer - who he views as a prophet - to come along]
- Jim Meskimen as Lent Goode (Tom Farrell), Easter's police captain[description:= White male, 50-55 years, Eastern European heritage, clean-cut /// character:= lenient but vindictive, really harbors ill-will towards criminals, a brown-noser]
- fabl3 (Matthew Farrell), computer hacker and government associate[description:= White male, 40-ish years /// character:= a dues-paid public servant who's worked on important cyber missions over the past decade, distant cousin of Lent Goode]📣offered to Justin Long
- Kofi Siriboe as Colin "Ramp" MacIver, petty officer in the maritime forces (1978 flashback)[description:= Black male, 20-25 years /// character:= fiscally conservative, hardworking and dutiful, a friend and fellow band member of young Joe Leland]
- Amrapali Ambegaokar as Agent Ritcha Ramja, City-wide liaison for the Drug Enforcement Administration[description:= Indian female, 40 years /// character:= blunt, low-key mouthpiece who acts as the interface between the intra-departmental corruption and the general public, representation for the regional branch/office of the DEA (on the case specifically in pursuit of Roscoe)]📣
- Kathleen Quinlan as Lily (Karen Holly Gennaro), ex-spouse of Easter[description:= White female, 65-70 years /// character:= sick/ill (dying from Huntington's disease), settled in Fairfax County, Virginia, frequently at odds with Easter because of her past dalliances; what's left of their relationship these days is estranged and apoplectic, but both still honor "the deal"]
- "Lollipop" Sylvia, connect[description:= Latina/Hispanic female, 15-20 years, Puerto Rican heritage /// character:= the unsuspecting distributor for both an offshore drug lord and Roscoe's minions, a candy-loving, cold-blooded assassin, a young girl who is making good money being exploited]📣
- Hephaestus (Blue* Horseman), one of Fer's henchmen[description:= Mixed male, 15-18 years /// character:= a mulatto boy caught up in a race war, an otherwise city-slick/street-smart punk kid who is infatuated with the manliness and father figurehood that Fer exudes, participated because he admires the leadership and wholeheartedly believed in its cause, now he must make a decision]📣
- Hebe (Purple* Horsewoman), one of Fer's henchmen[description:= Black female, 40-ish years /// character:= something was amiss in her personal life that she thinks she's found by following Fer]📣
- Bethany, a close business associate of Maundy[description:= White female, 30-ish years /// character:= cutthroat, face-paced MBA type who is just as invested as her boss in making sure the company is in a secure position]📣
- Rob Gronkowski as Bachev, concerned citizen[description:= Eastern Bloc male, 25-35 years /// character:= a no-nonsense family guy, prejudice at his core yet affable, large build (6'6''+, 240+), intelligent]📣
A Horseman is identified by the color of their held Beretta handgun.

/[bits]
- Efret, distressed child, only sibling of Gershom, and daughter of Tharbis[description:= Black girl, 8-10 years, dark-skinned]📣
- Gershom, distressed child, younger brother of Efret, and son of Tharbis[description:= Black boy, 6-7 years, lighter-skinned]📣
- Tharbis, distressed mother of Efret and Gershom[description:= Black female of Ethiopian descent, 30-35 years, thin build (body type reflects her struggles with drug addiction) /// character:= a thot]📣
- young Karen Gennaro (1979-1980 flashback)[description:= White female of North Italian descent, 28-32 years, small frame (~5'6'', 115lbs) /// character:= an abundantly hopeful person with an air of class (read: 'old vibe') to her]📣
- Dorsel, concerned citizen[description:= White male, 20-30 years /// character:= red-blooded American dude competent with a variety of firearms, pissed-off at the uprising, sees this as the perfect time to go and kill himself some 'niggers']📣
- Norma Stefany "Norma" MacIver, wife of/widow to Colin (1978 flashback)[description:= Black female, 20-25 years /// character:= an eager militant youth who is obsessed with the political and social climate of her time]📣
- Al(bert) Powell, freelance private investigator[description:= Black male, 21 years /// character:= nephew of Alven who wants to 'fight the good fight', aspires to be like his "legendary" uncle]📣
- George Coon, concerned citizen[description:= Black male, 20-25 years /// character:= token conservative Black guy, well-read, unctuous, wears his opinions on his sleeve, thinks that everybody should get along with everybody as long as it benefits him]📣
- Patel, concerned citizen[description:= Indian male, 20-25 years /// character:= a passer-by whose bad luck put him in the path of danger]📣
- Norman McClane, father of Norma and father in-law to Colin MacIver (1978 flashback)[description:= Black male, mid-50ish years /// character:= a tiresome maintenance worker for the Philadelphia Zoo, tough and stern in his strive to be a stable father, distrust of Frank Rizzo's administration stresses him about the safety of his family]📣
- Ross Marquand as Lambsimon, a member of Bethany's pod[description:= White male, mid-30s years /// character:= meticulous, diligent, dutiful, and sacrificial in the sense that he's willing to work long hours]
- Ling-Lang, concerned citizen[description:= East Asian male, 25-30 years /// character:= restaurant employee out to defend his turf, not the nicest person, but decent and minds his own business]📣
- d0x, Roscoe's BI[description:= Black male of Somali descent, 30-35 years /// character:= tech and business savvy, helps with the logistics of the kingpin's operation(s)]📣
- Lef'fut, Maundy's bodyguard[description:= White male, 35-45 years /// character:= burly guy who doesn't say much, speaks when spoken to, does what is asked of him, the boss' right-hand man and muscle]📣
- Jennifer Lim as Mang, battalion leader for Zone 4/Asian community[description:= Asian (Chinese/Vietnamese) female, 30-40 years, small frame (shorter than 5'5'', 110lbs. or less) /// character:= a feisty survivalist whose risky poor life choices happens to get her caught up in a war, a mother with secrets]📣
- Frank Rizzo, Mayor of Philadelphia (1978 flashback)[description:= White male, 55-60 years, burly frame /// character:= boisterous and brutish, his relationship with the African-American community is afoul]📣
- Galina, concerned citizen[description:= Russian female, late 30s years /// character:= single mom, immigrant, fed up with the 'others' not appreciating their opportunities, fighting for her race]📣
- Romany Naples, Vice Mayor of township[description:= Italian male, 55-60 years /// character:= second in-command, always en garde, of IJ Syndicate heritage]
- Laura Stetman as Ethel, Egg's girlfriend[description:= White female, 25-30 years /// character:= her relationship is tricky, as she is romantically involved with an always on-call operative, but it's relatively new and she is patient, an actuary by trade]
- Bird, Navy SEAL under Iggy[description:= White male, early 30-ish years, medium frame (~6'0, 175-180lbs.) /// character:= a ginger, never bothered, contemplative/mysterious, gets the job done]📣
- Kenneth Gamble, music producer (1978 flashback)[description:= Black male, mid-30s years /// character:= part of a duo looking for Philadelphia-area talent to join their label]📣
- Leon Huff, music producer (1978 flashback)[description:= Black male, mid-30s years /// character:= part of a duo looking for Philadelphia-area talent to join their label]📣
- Michael T. Weiss as Mr. Alphabet, mysterious leader of the conglomerate, Nile LLC[description:= White male, 50-ish years /// character:= incredibly smart technologist who heads the world's most valuable company, of Ivy League (Princeton+Wharton) pedigree, modeled after Jeff Bezos[i] and Elon Musk[ii]]📣

Note (+): Any and all confirmations strictly means that talent has opted to work on piece in some capacity relative to what has been proposed, and thus would qualify to be on the payroll.


Note (+): Because of the speed at which I plan to move (on schedule), the antagonist in the story has been written so that the actor would really need to have a close relationship with the writer himself (me), so I've penciled myself (Link Starbureiy) in the role of Fer.  And since I know exactly what I want, I doubt that will change.






/[crew]
- conduction+editing+writing = Link Starbureiy (opera+libretto, conductor, editor), H. Rap Brown[ii] (writing, autobiography), Roderick Thorp[iii] (writing, characters)
- visual/special effects = Digital Dimension[i], Pixel Magic[ii], Luma Pictures[iii][iv], Eight VFX[v], Gloria FX[vi]offered
- costume+wardrobe = Link Starbureiy (ideation)
- makeup = ?
- sound+music = Jerry Goldsmith[i] (incidentals), Michael Kamen[ii] (theme), Jimmy Jam + Terry Lewis (coordination)
- electrical = ?
- set decoration = Link Starbureiy (staging)
- stunt coordination = ?
- art direction = ?
- line production/business operation = ?
- casting = Link Starbureiy
- cinematography [camera, lighting, photog direction] = Link Starbureiy (ideation)
- transportation department = ?
- military science = ROTC at The University of Montana

Thanks goes to writers Howard Chaykin[i] for any comic book (DIE HARD: Year One) influence, and W.E.B. Griffin[ii][iii] for his dramatic styling of certain story elements that may have been used here.


+Jobs/Employment


The following employment opportunities are non-unionized paying contracts available to contractors*. All positions seen here are active; if the position is not in this space, it is not active. If no positions are posted, it means just that - there are no available gigs. Jobs, their descriptions, and any related information is always subject to change, and may remain posted at the discretion of the poster for purposes of posterity. Equal Opportunity Employer. To begin (an) application, open the lines of communication with the hashtag: #Eastergigs in the comment section below [eg. #Eastergigs: name, skills, etc. with a hyperlink to your Linkedin page], or forward your information directly to our very own Shannon Morris on Linkedin. Messages may be considered responsive, but only insofar as mutual interest exists. I'm also a firm believer that everyone should have Discord handy.Contractors must independently draft their own contracts (as to what salary, working conditions, etc. is acceptable).

location, location, location

+ This is where you (and I) will work. Both Philly and Montana are vibrant spots (okay, Philly a little more so). We'll be busy for the better part of eighteen (18) months with this startup known as Easter, but after work (and sometimes during), there are lots of other fun things to enjoy.

View more from the Visit Philadelphia® and Visit Montana websites
--------

"they don't make quality stuff anymore."
let's change that.

gigs

+concept artist [full-time] - draw, draw, draw, and draw some more! -- proficiency with variety of vector graphics programs (Corel, Adobe/GIMP, MS Paints, etc. w/ brushes: watercolor, camel hair, airbrush, crayon/oil pastel, grease pencil), strong 2D/3D modeling and CAD. Skills in character animation (/animatics) with said tools is a plus! Fine artists will spend their time building assets. You will work directly alongside me illustrating whatever I dream up, as well as interfacing with the actors and engineers when they need sketchwork. --- can you do stuff like this?

+special/visual effects [full-time] - develop believable digital assets that are seamlessly placed into real-world settings and environments (in this case, outdoors Philadelphia, Pennsylvania, circa 1978 - 1980, and today). I'd rather you use an opensource modeler, like Blender, rather than the commercial products like the Autodesk family (eg. Maya, 3D Max) wherever possible. Ability to duplicate visuals from still photos is a must. Your animations should be A+. Trust me when I say that this is something that you will be doing ALL DAY and that it will consume you.

Note (+): Educational programs whose alumni I respect include those from CalArts, Academy of Art University (San Francisco), California State Universities, CCAD (Columbus), Blender workshops. I'll also admit that there are some very talented high schoolers out there.




+military consultant [part-time] - help draft* schematics for wargaming in an urban landscape. An ideal candidate will have experience in actual combat (deployed), ROTC, and/or be a solid player in real-time tactics video games such as Call of Duty, Medal of Honor, Sniper Elite, and Battlefield -- in these scenarios, we need to know - given certain time constraints - what is feasible versus infeasible in urban guerilla warfare. Considering that Philadelpia, PA is a relatively large layout with many rowhouses, sidestreets, a trolley/elevated transit system, and on two rivers ([a]+[b]), how would battalions attack each other with limited munitions in that setting? --- if you're a gamer, demo your vids on YouTube with the hashtag: #wargamingforEasterOperaData trained on UUe.i.

Note (+): Gamers, whose efforts are appreciated😉, are not going to be compensated.🙁 You should, however, be signed-up for AdSense so that you can enjoy the revenue you get from playing games on your channel. If your strategies are used in the final cut, you will receive credit (as your screenname).





+actors [full-time] - both dry and wet. A dry actor (rehearsal aid) is one who helps with fleshing out a scene, particularly assisting the concept artists to better communicate+illustrate their renderings (for the wets). These individuals are not expected to have screen time. On the otherhand, a wet actor will audition for a role to be seen by a wide audience. --- dry actors might be selected from local talent; wet actors should frequent the film office bulletin in Philly (film.org), and elsewhere online (eg. Backstage.com). All hired actors must be non-union [SAG/AFTRA/AEA=no].* ---- actors please demo your reel on YouTube (at your discretion, make selection public, or unlisted if you only want someone like me to be able to view it) with the hashtag: #actingforEasterOperaOr, at least commit to being de-unionized while on set. The reason no SAG/AFTRA/AEA is preferred is because I don't want a union trying to bully me or getting in the way of what I'm trying to accomplish. I can't have actors or crew or anybody for that matter, slowing down production with a list of demands for working terms; if I have to work a certain style (long hours, etc.), then you have to work that same way. // En lieu of this, offered to hirees is an exceptional benefits package.

+crew [full-time] - if you don't know what 'crew' is, then don't bother. Needed are cinematographers, lighting, grips, drone operators, costume/wardrobe/makeup, and technicians.

Note (+): All acting assignments are paid gigs that will receive credit.


Note (+): Provided is a list of drama/theater departments from which talent is aggressively recruited by me for this project: The Ohio State University, College of William and Mary, Yale, Juilliard, NYU




+construction worker [full-time] - build/construct physical sets according to specification, and under the supervision of a foreman. Must be able to work on-site (Philadelphia or Montana) with varying hours. -- laborers should hold industrial trade certification and pass a background check. English and Spanish speakers OK.

+set artisan [full-time] - design and dress virtual and/or physical sets to specifications that suit your flair (within the context of the story, of course). Attention to detail and a willingness to stay within a fixed budget are a must.

+operations intern* [full-time] - a perfect opportunity to run a small business from the trenches. Your duties include managing the office, people, and payroll (either Gusto or an in-house system). As the point-of-contact, you will be responsible for public outreach. It is also your job to make sure that our metrics are growing(!). -- this is probably suited for an MBA or an entrepreneurial JD.You should already have your degree. It's an internship because it has set start+stop dates.

+music [part-time] - besides myself and a mixer, instrumentalists will be conducted by a classical conductor with experience in film, television, or (the cinematic elements of) video game scoring. Soft notes from Jerry Goldsmith's incidentals, as well as themes from Michael Kamen's original Die Hard score may be incorporated, so the department will need to conduct a full orchestra for additional new music (3+ hours) around that. -- applicants should hold a bachelor's degree in music.

Also wanted are neo soul/contemporary R&B songwriters and beatmakers for a series of forty-five (45) second advertisements featuring Ric Flair[i] of a fictional (in the sense that it was created for this opera) brand of DIY huckleberry-flavored rum called Hubert Brown (the birth name of H. Rap Brown/Jamil Abdullah al-Amin). These are marketing gimmicks that tie into the production (look for these around the Web and in the opera) because that's the distilled spirit our alcoholic detective prefers to drink. (Drink responsibly.🥃) The songs themselves don't have to be that short (and probably shouldn't be), but a full song must lend itself to being sampled.

If you need more information to help you with your composition, Ric Flair is a professional wrestler and personality (it's best that you know who he is. Pretend that he loves R&B and that you are making music just for him.) who will narrate the overture in snippets in the company of a 'friend'. Although he is reputably 'loud' (flashy) in real life, your music should not be. We're easy listening for melodies that compliment/complement the ambience of man wanting relaxation and telling a story to whoever's paying attention.


My way (rather, the Black American style to which I'm accustomed) of doing this is to put a bunch of professional musicians (whether they've worked together before or not) in a room and let them have jam sessions. We're bound to have a ton of new music and sounds, some things of which are destined to make the cut.
btw, aren't these great?:


+video game programmer [full-time] - going off concept art and assets to develop the complementary app for Easter. For the most part, gameplay is styled after the Pokémon Go game (2016), consisting of mixed reality/augmented reality elements super-imposed on locations (also, can you make in VR??). -- do you think your team can ship a monetizable app (beta) with continuous predictable updates through March 2019? Show me your GitHub. [## Python seems to be the way to go, these days. ##]

+automation engineer [full-time] - somebody who can prototype interfaces for self-driving vehicles (think of scenarios with lots of traffic). You will need to be comfortable+proficient with machine learning and data science.

Note (+): Provided is a list of engineering departments from which talent is aggressively recruited by me for this project: University of Washington, Stanford, CalTech




--------

culture

Highly-collaborative with a premium placed on helping each other succeed. Projects are deadline-driven and time-focused. We move fast and are audience-obsessed. // Share my vision of a smart+able world. // I try to make things as relaxed, fair, and enjoyable as possible (I design toys and play with a jukebox all day, go figure!). {I reckon that the IQ around here has got to be insane.🤢} Hard work better pay off. Gigs also come with these neat
--------

benefits

The hiring process is straight-forward: can you do the job, and will you do it here? If the answer is 'yes', then my response is to make you comfortable doing that, with:
+competitive pay (compensation is scaled at some multiple of industrial base rates)
+healthcare+wellness coverage (spot-paid general examinations, dental/oral, eyes/vision, prescriptions, gym membership)
+time off (sick leave, paid US holidays)
+food🍲 (cafeteria loaded with eats, snacks, and beverages; there is no need for your stomach to be growling)
+relocation (transportation and moving/import costs)
+gear (I might bless you with some in-house articles when available)
+movie passes (gift certificates to the local theaters to peep coming attractions)


Investor relations

Financial literacy | Flotation and private offering

Hello.🙂

DESCRIPTION
Easter is an opera billed as the capstone of the acclaimed The Detective franchise. Roderick Thorp's bestselling novels were first adapted to screen in 1968 with a fine performance[i] from Frank Sinatra as Joe Leland, and then twenty years later in 1988 (Die Hard) with Bruce Willis' career-topping role as John McClane. Here, Joe Leland/John McClane returns in this epic saga-concluding tale about redemption. An all-star cast dramatizes Link Starbureiy's Pulitzer-nominated work.


valuation$567million
spread109+ (~1.8¢/impression)
pp$1.00
carry20%
exit90 days

Slidedeck for angels



Prospectus

{This is a subscription*. You are purchasing promissory notes in an upstart project that is a work-in-progress for the possibility of being rewarded with high-yield interest, upon maturation. The following presentation is directed at potential angels.In finance, subscribing is the process of investors signing up and committing to invest in a financial instrument, before the actual closing🔒 of the purchase. Team Fox: A generous portion of returns go to sponsoring The Michael J. Fox Foundation, a non-profit organization whose urgent mission is to cure Parkinson's Disease. Specifically, it is requested that monies go directly to clinical trials which result in motor/non-motor therapies.}
INVESTMENT TERMS
Security type: Crowd note (cf. promissory, convertible)
Round 1A: Seed [$50,000 (goal)] / Close🔒: June 2018

Subscription provisions:

Provision 1 ("interest")

Participants are granted a rate ('interest') proportional to the amount of the principal sum deposited in gross accumulations from all onsite ad revenue through a finite period as determined by the house. For example (actual values will vary), if a participant's individual subscription (s) totaled $10,000, then with a carried interest (c) of twenty percent (20%), participant's earnings would be = ([s * c] - s = [$10,000 * 1.20] - 10,000 = $2,000).

Provision 2 ("equity")

Participants are granted non-voting shares as a relative stake ('equity') in gross accumulations from all box office sales lasting through a period set forth by the house (said period is April 19, 2019 - May 31, 2019). For example (actual values will vary), if a participant's subscription (s) totaled $25,000, the production budget (b) came to $50,000,000, and the box office (o) was $650,000,000 then participant's earnings would be = (s/b) * o = $[0.005 x 650,000,000] = $325,000).
--[Discussion: financial fuss]
All monies received here come from voluntary orders, and are not tax-deductible. By purchasing, you hereby agree to the following Terms of Sale: All sales are final, non-refundable, irrefutable, and non-transferable.

Fine Print
{The legal stuff that has to be verbalized in order to protect all parties involved.}


Not FDIC insured // No bank guarantee // Risky


Long-short: As to not allow contamination of the vision of the Opera, total subscription equity has been diluted to fifty percent with negative parity (50%-). This marginalization of the Subscriber ("You") keeps the majority (50%+) of the power and absolute direction in the Producer's ("Me) hands, but privileges are still jointly shared between parties. Once monies are collected from the exploitation of the Opera, it becomes imperative that fair distribution ("Adjusted Gross Procession") is established. Essentially, what you paid into ("Subscription"), gets reflected in the amount, based on total returns. Keep in mind that repayment lasts only for a specific duration, and is in no way indefinite.

The Financing Agreement provides that Adjusted Gross Proceeds (as stated below) will be allocated as follows:
- first receivers get one-hundred percent (100%) of Adjusted Gross Proceeds, paid to the Subscribers on a pro rata (based on the ratio that their respective financing contributions bears to the aggregate of the Subscribers’ financing contributions and envelopment); and
- all third-party participations in Net Proceeds shall be borne out of Producer's share of Net Proceeds.

For purposes of this Financing Agreement, 'Gross Proceeds' means any and all amounts, including nonrefundable advances (subscriptions), received by LES ("Me", well, actually, the name of my business/proprietorship) from the exploitation of the Opera and all elements thereof and all rights therein, in any and all manner and media (theatrical, streaming, etc.) derived from advertisement of the Opera. The following amounts are not included in Gross Proceeds:
- amounts used to fund production and deliverables costs of the Opera
- tax credits or other tax incentives (ie. state and/or local tax deductions for filming on location) received in connection with the production of the Opera shall be included in Gross Proceeds only to the extent not used to repay financiers providing financing secured by such tax credits or incentives or used to directly fund production costs of the Opera.

Now for some concise definitions:
valuation = abo = anticipated box office - this number is what the project is expected to make after box office receipts are tallied. It is derived from taking the past highest-grossing relative in the franchise (nominally, Live Free or Die Hard) and adjusting that for inflation, then adding to that the standard industrial estimate of 28% from streaming revenues.
spread = epc (expected page count) x impression rate - the main technical product of the Opera is some fibor (here, the proteins alpha synuclein, huntingtin, and parkin). In juking the fibor(s), a countable number of posts, known as impressions, are posted, with each impression/post monetized. Rule-of-thumb has it that the larger the fibor/protein residue (amino acid chain), the bigger the expression (impression inventory). The revenue generated from this is essentially our budget.
pp = promised principal - the buy-in amount (as some multiple of itself) without carried interest. This is synonymous with the concept of 'price per share'.
carry = carried interest - practically, this is the performance fee in excess to the promised principal of the investment. Collected interest here is what the angel stands to gain/earn.
exit - point at which a venture (hopefully) has met its profit objective and the angel will be reimbursed.

Note that LES does not offer any warranty in the Financing Agreement as to the amount of Gross Proceeds, if any, it will receive from the exploitation of the Opera.



COMPANY HIGHLIGHTS

The cast+crew for Easter:Die, Detective! have either won or been nominated for a considerable number of industry-related accolades over the course of their careers. For instance, the opera's thespians (anchored by Ms. Glenn Close) have received 10+ Academy Award nominations, 40+ Golden Globe Award nominations, 30+ Emmy Award nominations, and 4 Tony Award nominations.

On the production-side, our crew (with a focus on musical arrangement) have garnered 30+ Grammy nominations. Producers Jimmy Jam & Terry Lewis (as Flyte Tyme) hold the record for charting the most Billboard top (ie. number one) hits in history, and are responsible for generating music which has sold over one-hundred million (100 million) records (gold, platinum, and diamond albums) since the 1980s.


BUSINESS SUMMARY
Opportunity
Solutions to protein folding problems are largely computational. Engineering+maintaining a supercomputer is expensive, but the payoff is near-immediate and widely useful. We've boiled the research needs down to just financing (as a function of underwriting). I figure that a big box office can raise funds much quicker than traditional grassroots campaigning.

This is your chance to help rejuvenate 'The Detective' series. Its first sequel, Die Hard [TD2], has been called the 'greatest action film of all-time'[i] and was selected for preservation in the United States National Film Registry in 2018, which also marks that film's thirtieth anniversary. My ambition here is twofold: (1) use this popular storyline to bring widescale awareness to neurodegenerative diseases and their disorderly effects, and (2) simultaneously have those derivative revenues pipelined for therapeutic development.

Activation
//Use of proceeds, marketing -
All funds raised from this offering will be used to further project to completion. Casting for Die, Detective! should be completed by July 2018. Again, the budget is conducive to funds raised, with an estimated ceiling of $60million. To save on expenses, there may be deferment of costs (eg. talent might opt for backend compensation en lieu of salary). Tax credits will also be applied whenever possible. There are no dealings with commercial banks; all financing comes directly from crowd notes, themselves raised in funding rounds as necessary+feasible.Subject to change by the Producer and/or the talent themselves.

Initial seed funds are sought to complete pre-production (current state), and then progress to the next stage - principal photography. Pre-production is the stage where all concept art is illustrated for cinematography, pre-visualization is set for the actors, the script is squeaked for final preparation, and the cast is officially contracted. While large portions of the script can be performed without pre-visualization (just using direction, for instance), there are still a great many scenes that need to be fleshed out with 2D renderings and rough 3D animations.

Photography commences in July 2018. Filming will take place on location in primarily in Butte, MT and secondarily in Philadelphia, PA. A scheduled four-month shoot is allotted (with an additional two months for any necessary re-shoots included in this timeframe). Rounds A+B raises are likely to finance photography.

Post-production is the penultimate stage of filmmaking. During this stage, most if not all of the editing will happen. Visual/special effects are added to the picture. Sound, music, and audio effects are arranged+implemented. This is the most laborious stage in the entire process, and thus, typically takes the longest and is the most expensive. Funding is likely to come from additional rounds (C, D, ..etc.).

The marketing campaign is as follows: Beginning June 2018, pro wrestling legend, Ric Flair, will feature in eight (8) adverts (called 'Easter eggs') to be distributed intermittently. Each advert will drop hints of John McClane's origin story. The 'Easter eggs' will have official trailer footage accompanying them. -- Mr. Flair was selected because of his own backstory (which conveniently ties-in), and because of his popularity with a specific target (male) of our demographic.

All talent (cast+crew) who have available social media accounts (Facebook, Twitter, Instagram, etc.), are asked to utilize them throughout the opera's development. This is done so as to keep investors (and to a smaller extent, fans) abreast on internal (but not spoiling) ongoings. Major print and multimedia outlets will also be contacted for news flashes.

🗓️Schedule
Easter:Die, Detective! debuts theatrically on April 19, 2019 (Easter holiday weekend). Supplied is a one-year roadmap of planned milestones leading up to release.




TRACTION
Different production companies (including mine) had been rumored to have limited involvement with a conclusive John McClane-centric picture since 2010. Bruce Willis ("Mr. Willis") publicly stated that he wanted to retire the character after a portrayal in a sixth film.[i] In October 2015, director Len Wiseman tweeted a still image that read "DIE HARD: Year One"[ii], with no further information for nearly two years. Then, in September 2017, news outlets were given the report[iii] that he was looking to cast in a (presumably) new television series based around the comic books DIE HARD: Year One. With the project sitting in development hell for more than seven (7) years, Mr. Willis took to late-night talk shows in February 2018 to give a status update, confirming that scriptwork existed.[v] By March of 2018, DIE HARD: Year One hired new writers to do a script re-write[vi], implying some dissatisfaction from its would-be star. Comcast* later purchased Twentieth Century Fox.[iv] Headquartered in Philadelphia.

Mr. Willis requested the following:
- to star in a war movie[vii] (Hart's War is discounted because that's not actually a war picture, but a drama which takes place in a war camp)
- an on-screen send-off with McClane's ex-spouse, Holly Gennaro[viii]
- a return of either Al Powell (Reginald VelJohnson) or Zeus Carver (Samuel L. Jackson) in some capacity
- that if his character were do die, it should be helping children in the line of duty[ix]

Note (+): Bonnie Bedelia has declined - with exception - to reprise her role of Holly Gennaro. In Easter:Die, Detective!, the actress for Karen Holly Gennaro has been replaced with Kathleen Quinlan. I apologize to the dismay of the fans, but I need people who actually want to work.



Die, Detective! obliges those requests (for the most part). Additionally, the critical response to A Good Day to Die Hard was overwhelmingly poor.[x] Many felt that it 'didn't feel like a Die Hard movie', while others gave Jai Courtney's (Jack McClane) performance lackluster reviews. As a response, the character of Jack McClane (Joey Leland) has been replaced with a new actor. Also, Bruce Willis' real-life daughter, Rumer Willis (contracted with Fox via the show, Empire), has been offered* the role of McClane's on-screen daughter, Lucy (due in part because of public distaste for the scandal involving Mary Elizabeth Winstead and Ewan MacGregor[xi]).This would be the forth time father and daughter acted together on-screen[xii].


The Die Hard™ franchise has a die hard (pun intended) built-in fanbase. Its social media presence on Facebook sits at ~2.7million likes/fans, more than that of superheroes (and box office draws) Wonder Woman ($412.6million US/$821.9 worldwide), Black Panther ($700million US/$1.35billion worldwide), and Justice League ($229million US/$657.9 worldwide).


HISTORICAL FINANCIALS
+ The Detective series box office performance


📊📈Spread Analysis

+ Ad traffic (for uuelco.me)
Page RPM [floor - ceiling, with daily fluctuation]: $0.00 - 37.49 (average is 1.8 cents/impression)

Note (+): This graphic only shows the start of a new cycle, that's why the 'Clicks', 'Page views', and 'Impressions' values are so low. What is important are the 'Page RPM' and 'CPC' values, which emphasize what advertisers are willing to pay and the rate at clickthrough.



Post count: ~11,200
Average page views/day: 23.5k
Unique site visitors/month: ~617k+

What I do for a living is play with a jukebox all day long (I also write operas😉). My threads (posts) get monetized with, among other things, ads. These revenue numbers are included here as prima facie evidence of a source of income to further investor confidence; with enough output, I should be able to at least cover the interest per subscription, where needed. The cinematic for this opera is expected to generate a very large number (upwards of 107) of frames/threads, all monetized. We also note that UUe is a main character in the opera, Easter.
UUelcome is currently the top-rated gameshow over internet relay chats. --something to smile😀 about-- Although that's not saying much since there aren't too many web-based gameshows in syndication, it's worth noting that Nielsen's rating system determined UUelcome to be in the top-ten overall (television and radio included), behind only Family Feud, Wheel of Fortune, Jeopardy!, Price Is Right, and Let's Make A Deal (as of Spring 2018). That is extraordinary considering that my work has been streamed entirely on a blog platform.

Technically, the metric I'm using to determine performance ranking/rating are the self-records from so-called paper diaries. Nielsen (from survey conduction) historically only measured television viewership, but has, since the last decade, counted all platforms (web, mobile, tv, radio, etc.). It only helps that I have a website, versus just a single slot on one television station. It also helps that I can 'play'/stream at all hours of the day and night instead of just at a specific time. So, on my end, I track the online activities of competing properties' social network presence, and compare those to my subscriber base over a set time.




INDUSTRY+MARKET ANALYSIS

The global film industry is projected to reach nearly $50 billion in 2020.[i] In the year 2016, the global box office reached $38.6 billion in ticket sales, up 1% from 2015. The North American (U.S./Canada/Mexico) box office ($11.4 billion) grew 2% while the international box office ($27.2 billion) was flat-year-over year. Over 1.3 billion tickets were sold during this period in the North American market alone, with more than two-thirds (71%) of the U.S./Canada population – or 246 million people – going to see a movie at least once in 2016.[ii] The United States is the leading film market worldwide with over $10.14 billion in gross box office revenue (2016). China is the second largest film market with over $7.46 billion in gross box office revenue (2016). In terms of ticket sales, however, the U.S. is the third largest film market, selling about 1.2 billion tickets in the year 2016, trailing China (1.25 billion) and India (2.3 billion).

Note (+): A Good Day to Die Hard performed exceptionally well in Hong Kong, setting a series record in film gross.


Digital home entertainment (ie. streaming services, video on-demand, digital downloads, etc.) has recently surpassed theater revenue. In the year 2015, U.S. electronic home video revenue was approximately $11 billion, whereas U.S. theater revenue was about $10 billion.[iii] This gap is expected to widen in the next few years as U.S. electronic home video market grows to $17.19 billion by the year 2020. China will see the strongest growth, with a 31.3% compound annual growth to reach revenues of $3.11 billion in 2020.[iv] [Discussion: debut and post premiere plans]


COMPETITORS/COMPARABLES
//Other franchises with themes similar to Easter:Die, Detective! -
Platoon: The classic American film based on a screenplay by director Oliver Stone about his time in the infantry while serving during the Vietnam War. This picture follows a small platoon of soldiers on a ground assignment as they fight their enemies and each other. The film went on to win Academy Awards (1986) for Best Picture, Best Director, Best Sound Mixing, and Best Film Editing. [watch trailer footage🎬]
John Wick (franchise): About a retired hitman forced to deal with adversaries who have stolen his property and disrupted his pursuit of a calm lifestyle. As the chapters progress, he is brought back into the world of underground contract killing. The films are very high-octane, and play like a first-person shooter video game as viewed by the audience in second-person. [watch trailer footage🎬]
Power: Set in present-day New York City, the drama follows James Saint Patrick as he simultaneously masquerades as a drug lord and night club owner. As both the protagonist and antagonist of the show, he must balance volatile elements of his personal life that include a longtime friendship, a stable wife and family in addition to his mistress, and a menacing past that threatens to topple all of it. To date, the show's second season has been lauded as its most successful, garnering a 'fresh' 100% rating on Rotten Tomatoes (.com). [watch trailer footage🎬]
The Wire: A crime drama series (five seasons, sixty episodes) set in Baltimore, Maryland that explores the relationships intertwining law enforcement, illicit+illegal drug activity, city government and its bureaucracy, as well as print news media. Since its syndication, it has been hailed by fans and critics as one of the greatest television shows of all-time. [watch trailer footage🎬]
DIE HARD: Year One: Howard Chaykin-created comic series which delves into the rookie year of a young John McClane on the force in New York City in the late 1970s. This is (presumably) being produced by Di Bonaventura Pictures and Len Wiseman as a serial television program (running parallel to the comic books' issuance). It was greenlit by 20th Century Fox in 2017 as a replacement (new incarnation) to that studio's cancelled 24:Legacy show.


Basket🛍️

compile🔐/$50

perks🖐🏽

Easter.DD

Your downloadable🔐 digital multiplex includes the piece's libretto and a deluxe edition of the cinematic print (= Die, Detective! movie). Ships April 19, 2019.

Note (+): The compile is sold separately; your payment of fifty dollars ($50) does not grant you revenue participation rights.


Perks🖐🏽

Below are offered perquisites ('perks'). These tiers each have their own set dollar amounts indicating cost-per-item ($/). Think of them as bonus gifts in addition to holding revenue participation rights (ie. shares). A shipping address may be necessary to deliver tangible goods.

+ $250/signed branded jersey (autographed by Link Starbureiy) [shipping NOW]

Item description: You'll look good in this new jersey. The UUe jukebox logo (UUelcome Home) prominently featured on the front, to go with lnq's motif printed on back, will have you styling wherever, whenever. -- Who knows, a signed shirt by me might become a collector's item and be worth lots of money someday.😊
- quality long-sleeve, plain white (get it?), crew neck top is 100% cotton (pre-shrunk), soft+durable to keep you warm (roll up sleeves to cool off)
- fit is unisex standard
- machine wash cold inside-out with like colors. Tumble low dry

Please allow 4-6 weeks for delivery (I doubt it will take that long, but I'm obligated to say it😇).

Buy

+ $1,000/underwriter credit - Credited as an 'Underwriter' of the opera. Your name (first plus last) will appear in the end scroll during film credits. You'll also get a signed jersey. [ships April 2019]

+ $25,000/private screening - As a 'Thank You' for grossly underwriting this, I want you to enjoy the pre-release (plus meet+greet) with me during a screening for professional journalists in Los Angeles, California. [transportation and lodging accommodations are your responsibility.] -- This perk also comes with an 'Underwriter' credit and a signed jersey. [ships April 2019]

Additional hospitality: As my personal guest, you will receive an entrance badge to the theater, an assigned seat (this just means that you'll get a nice view if stadium seating is available), and a gift bag to take with you. There will be catering (suited to my cuisine tastes, probably nourishing soulfood) on-hand to everyone during the experience. This should be fun!



Discussion

The following is a question (Q) and answer (A) format organized by topic, many of which may be anticipatory.

//general (17+2) //production (10) //financial (18) //technology (16)
comment💬


Q: Is this 'Die Hard 6'?
A: It could be. Or, rather, this would be 'The Detective part 7'. Technically, it (the first part of the operatic arc) is 'Easter:Die, Detective!'.

Note (+): The 'Die Hard' trademark is only used here courtesy of the respective owner(s) as a point of reference with no infringement intended.


Because the arc wraps with a rehash of Nothing Lasts Forever (ChordK), this, in a way, is a reboot of the series, as well.
Q: Is this the official webpage for said project?
A: Yes. This is the official central page for the opera, Easter, by Link Starbureiy. Other sites may ping back here as a point of reference.
Q: Will there be sequels?
A: To the opera itself, no. The first chord is intended to conclude the Joe Leland saga. By the end of the fifth chord, the Leland Family drama is completed as was published.
Q: This comes across like a multitude of projects. Please clarify.
A: Easter is an ambitious large-scale opera that is told is five parts called chords. The first chord (prelude) of this opera is, 'Die Detective!'. Since we are doing one thing at a time, Die, Detective! is what is currently underway for screen adaptation. The plan is to have the other four (4) chords successively released in similar fashion.

In terms of the amount of activity in this opera, there are a few intra-opera technology targets🎯 that we aim to hit, but these are supportive (supplemental) and not extracurricular.
Q: What does the opera's logo mean?
A: It is an illustration of a cracked Easter eggshell, which supposedly represents the oncoming of a new beginning or an awakening.
Q: Why jump into The Detective universe?
A: The challenge to image alpha-synuclein came from the MJFF. It's cumbersome nowadays to try and raise lots money from grants and donations. In order to pull the feat of protein folding prediction, one is going to need substantial computing resources. The idea to gather that kind of money from a blockbuster just made sense to me.

Bruce Willis was one of my favorite actors growing up, and when he announced that he maybe wanted to retire the John McClane character in a sixth film, I jumped at the chance to submit a story idea. My thinking stemmed from answering the question of what a beat-up police officer with a tough spirit would look like in today's America. Leland's personal plotline in Easter closely follows some of what I have lived through in the past decade being in Montana (the huckleberry angle, fishing on the river, solitude, insanity), and it shows in the writing.

I think the audience can relate to somebody who is real, hurting, but really trying. Roderick Thorp's foundation just fits the bill here.
Q: Establish permissions.
A: Because this is a transformative phonorecord, the U.S. Copyright Act of 1976[i] supersedes and supplements permission from Dial Press, the publishing imprint for the books, The Detective and Die Nigger Die!, to use those works as I see fit, however faithful.  That is my legal authority to move forward with this piece.  I have qualifications (via [a], [b], [c]) to prepare a derivative work (chords 1 and 5) from a musical angle. And even if the permit were to be rescinded (it won't), this is - according to fair use doctrine - pursuant of an original work (intermezzi: chords 2-4). Standard stuff.

More concretely, I am granted definite statutory custodianship from the estate of Jamil Abdullah Al-Amin to reuse the book, Die Nigger Die!.
Q: What is the ISMN with the Library of Congress?
A: ISMN: 979-0-800136-00-9
Q: Explain this operatic phylum.
A: Easter is an opera predicated on cinema (opera cine). Much like how you can have a movie based on a book, the prelude chord (Die, Detective!) centers around characters and a plot synthesis spiritually connected to the books, The Detective (1966, Roderick Thorp ISBN: 0-8488-0375-2), and Die Nigger Die! (1969, H. Rap Brown ISBN:978-1-55652-452-3).
Q: 🗓️When does the opera debut?
A: April 1, 2018 [libretto📘] (online @this parlor as a stream of frames in its non-cinematic entirety = chords 1-5) until its April 19, 2019 (chord 1) cinematic premiere Easter holiday weekend [domestic🇺🇸].
Q: Discuss premiere and distribution plans.
A: In addition to being a metered embed on this jukebox page, the cinematic might have a wide domestic release in IMAX theatres and on RealD® screens for its opening week [twelve (12) days from 4/19 - 4/30/2019] so as to qualify for Oscar eligibility -- any further theatrical releasing will be played by ear. -- The opera itself has a lot of replay value, so ending that first weekend, on Easter Day (4/21/2019)🐣🐰, it will have broader simultaneous availability as a streaming/video-on-demand item for rent* [at the usual ten cents per minute (10¢/min.) or one-cent per frame (1¢/fr.) rate] or purchase in digital format. Supposedly, this practice keeps advertising costs down; ensuring that distribution fees will only have to be paid once.[ii] Expected services to be used are: Vimeo, YouTube, and Windows+Xbox. The cinematic will also be compiled with the libretto where it can be experienced in its true form, immersively.Keep in mind that renting an item is normally cheaper than purchasing it. However, the terms for holding/borrowing are shorter.


Q: If you cannot obtain a distribution agreement from a major distributor, is this a hindrance?
A: No. This is my own work, a project created by me to be exhibited/delivered to the public (subject to licensing). A lack of a distributing partner would not be an impediment; as exorbitant as such costs[iii] are, it may actually be welcomed (such a deal for the 'deliverable' would only be negotiated for tangible home media and/or international markets where English is not the primary or secondary language [for dubbing purposes and censorship securing], anyhow, namely China). Besides, I'm not at all interested in the motion picture ratings game; Die, Detective! is (ahem, it's actually NOT RATED) an R+ (for intense sequences) piece, and I won't allow a distributor/studio dictating with scissors what they think is appropriate for me to attain. Plus, there are other distribution methods available.
Q: If you have a buttercup with no butter, what's in the cup?
A: {shrugs shoulders}😉
Q: Why have such a relatively short/limited theatrical engagement?
A: Mainly because of the habits people have in consuming media nowadays. I think an opera of this caliber deserves the very best delivery [sound (audio) and visual]. So as to maximize revenue and minimize costs, unless it has a huge opening where a standard fifty percent (50%/week) drop-off won't affect business, it will only be in theaters for no more than two (2) consecutive week(ends). I certainly will entertain keeping the print available in first- and second-run houses until the nut hits the floor if it is breaking records. The silverscreen is there so that you can enjoy it with others in an auditorium, with all of the "ooohs and aahhhs", stadium seating, and refreshments (if that's your thing). I'm purchasing the highest-quality theaters just for this experience, which isn't cheap. I figure, after you've seen it once on the big screen, it should be available around the same time on your small screen so that you can watch it whenever/wherever; you'll have both options there for your liking. Plus, the whole opera is very long, so the plan is to split the parts up and then release them consecutively (back-to-back).
Q: Where will this be screening roomed?
A: At the 2019 Columbus International Film & Animation Festival (trivia: this is the oldest film festival in the United States).


Q: Under what genre is this classified?
A: It is of the war genre. While still 'NLF'-styled (ie. constricted action and so forth), the overall setting is moreso placed in 'The Detective' realm. In that sense, it is also a crime drama. {I really want to emphasize this being a 'crime drama', because it will feel at points like a drawn-out episode of your favorite police procedural before its war crescendo. There is so much intrigue here that people who love gangster flicks could go for this.}
Q: What is the duration of this piece?
A: Running time for Easter:Die, Detective! (the first chord of a pentachordal arc) is ~200 minutes (3+ hours).
Q: When does recording commence?
A: Immediately after pre-production [along with rehearsals] - estimated to last through mid-to-late Autumn (wrap = October 2018), can be extended for reshoots as necessary.

Note (+): It is important to note that filming is commensurate with funding. Non-principal photography begins in July with adverts featuring Ric Flair, which are to be disbursed over the course of a year.


Q: Where does recording take place?
A: Principal photography (+second unit photography) will be shot on location in Philadelphia County, Pennsylvania and maybe in-and-around Butte, Montana. Butte can serve as a backdrop for Philadelphia since it has residential neighborhoods that share similar architecture to those in southeastern Pennsylvania. And also - in addition to some of the tax incentives the State of Montana offers filmmakers - because it has a large Irish community (which itself plays a substantial role in this piece).

These locales aren't coincidences. Montana is home, and it's easier to some degree for me to stay close to it. Not thinking about myself for a second, when putting this together, my mind was on a particular family member who lives in Philadelphia and was going through some stuff. An extended stay in Philly gave me an excellent excuse to be with them.

Q: LeBron or Jordan?
A:
Oooh, ..good one. They can both ball. Both are all-time Top 5. That is to say that both belong at the top in their respective position slots. LeBron at #3 (small forward) and Jordan at #2 (shooting guard). I think the problem some people might have with LeBron's game is that it's ugly, compared to Michael Jordan's (that fadeaway jumpshot is a thing of beauty, much like Jeff George's throwing motion); he reminds you of a running back when he plays inside the perimeter. But, his passing is second-to-none.

It's similar to the Gretzky-Lemieux argument; everyone knows Wayne Gretzky is the greatest, but when you watched Super Mario skate, you could clearly see that he was the most gifted player on the ice no matter who else was playing. Jordan and Gretzky have earned their acclamations, but if I were a team with the first pick in the draft, I would have to select LeBron James.
Q: Who is Link Starbureiy?
A: Link Starbureiy is an impresario. Having started his career in toys, where he designed puzzles (namely Egglepple), he then branched out into the mathematics of yarn play, which led to an obsession with so-called string theory. As his work evolved, he invented the jukebox, UUe, pioneered the craft of juking, and now composes opera.
UUe
A self-proclaimed 'Ohio State Legend', Starbureiy considers Life to be a series of puzzles Nature has created for him to solve. He usually finds a reason to smile everyday.

Standardized test scores:
GRE Chemistry (990/990)
GRE Mathematics(990/990)
GRE Physics(990/990)
//production
Q: How can I audition for a role?🎭
A: There are a number of roles for actors to audition. Not every role is open; some are (already) hand-picked by staff and thus not open for reasons that are out of your control. Before applying, you should know what role(s) you are wanting. Although there isn't too much information available regarding the character, a short description has been provided as a rubric. That said, all the staff is looking for is your ability to act and take direction.
Q: How long⏳ should my demo reel be?
A: Ideally, a demo reel will not exceed one-hundred seconds (100 seconds [~1.5 minutes]).
Q: Why are you only shortlisting schools/theater departments? Stop being such a snob.
A: lol. I'm not picking favorites. The top schools are the top programs for a reason. They offer the most thorough (maybe not the 'best') training. We want talent that is ready to 'go' from Day 1. When a production of this caliber is even mentioned, the bigger the applicant pool is not always merrier, so imposing a lower limit on a bucket draw tends to work favorably for the casting director. Still, drama departments across the country aren't differentiated by too much, and so any graduate (even a minor in theatre/drama studies will suffice) is welcomed to apply. (psst! I also consider alumni of avant-garde theater groups/experimental theater companies.)
Q: What camera is used?
A:
Pixel* [handset] plus (depending on the perspective and what information/data needs are) device enhancements (ie. Moment or a Xenvo Pro lens).Camera rated the highest in its class.[x][y][z]

Yeah, we're shooting it with a phone📱! The choice was made early on to go with a handset instead of a camcorder, like (considered) RED MONSTRO 8K VV or Arri Alexa. The latter cameras offer a great range of abilities, but I want this to have a real-time strategic feel and look of emergent telepresence (ie. the camera just happened to be there), which in some regard meant photographing on mobile. The Pixel family (or rather, its built-in software, especially Google Daydream) is astonishing in that it can compute loads of similar information (eg. image sensor processing) in all types of light settings (outside/natural, indoor/artificial, dark, and graded) on par (in my opinion) with the big rigs.

As an illustrator/editor, I do a lot of the heavy lifting in post [tools: Blender (effects), DaVinci Resolve (correcting/mastering), Catalyst (preparation)], anyway. Toss in the fact that the workflow pipeline utilizes Google Cloud, it makes a lot of sense to stick with a single supplier whenever possible.


Q: Is this a unionized production?
A: Absolutely not.
Q: If I am part of (have membership in) a worker's union, am I allowed to participate?
A: Possibly. Unions are relics of Prohibition and exist to regulate some thing. They can be beneficial to the 'little guy' who is just starting out (by guaranteeing a livable wage), but are a pest to larger organizations. You've got to eat, I get it. I can work with the contract that you have drawn up [maybe even honoring/matching sheet rates supplied by SAG or AEA ("Equity")], but don't count on me unionizing my whole production* (a requirement of the union) just to feed you. The legal way around that is to treat you as a temporary employee, and have you NOT REPORT those earnings to your guild, only to the IRS. Both parties (even the AFL-CIO) have to report this information to Uncle Sam, anyway. Basically, you become an independent contractor [1099]. Standard stuff.Which is compliant with provisions of the International Alliance of Theatrical Stage Employees.
The other tidbit is for me, the employer, to have insurance, which most jurisdictions insist on, anyhow, because they're taking a calculated risk hosting an endeavor (ie. a big budget production will likely spend those funds, meaning that the locality or parts therein will need to be underwritten somehow). Think about it like this (hypothetical): I have a planned project. Two performers come to me looking for work. One is a freelancer with no experience, but loaded with natural talent. The other is a talentless unionized hack with a pretty face. She can obviously help sell the project in her own way, but the freelancer can also help, and all he wants is the chance to work on set for some pizza🍕 slices. There's no way I'm unionizing the production just because of her, when I could just hire some other babe who understands the deal. A box of pizza and some cheap insurance policy, or the extra expense of dealing with bloated collective bargaining agreements? You do the math. (see also benefits package, inactivating your status)
Q: Are children allowed on set?
A: Unless a child is part of the production (eg. as an actor), they, like anyone else not on payroll, should not be on set. Children - especially small children - are considered hazardous/a safety risk and not welcomed on set at any time during production.
Q: Are drugs and/or alcohol allowed on set?
A: No. My set is a substance-free workplace. Employees are prohibited from possessing, using, or being under the influence of controlled substances in the workplace. Violating this policy subjects the employee to termination of employment. Manufacturing and/or distributing illegal drugs (anywhere) can result in that person being reported to authorities. Say "No" to drugs.
Q: Are pets allowed on set? Can I bring my pet to work?
A: No. Please keep your pet(s) at home. If any animal is on set, it is likely that they are being handled by a hired professional handler.
Q: Does the script call for any nudity?
A: Nope. Proudly, no one's physical privacy will be compromised during this production.

//financial
Q: Must I be accredited/sophisticated to participate?
A: This capital call is open to everyone. Professional investor credentials (self-reported) are not required.
Q: How is the raise legitimate?
A: Because this praenumeration is attached to a subscription (ie. debt/debenture rewards model), it qualifies as being exempt from Reg D (Rule 506)[ii]. This is to say that rounds of funding may likely never leave the seed stage (ie. no greater than 500 financiers of record, per); finite and limited raises (debt) are re-cycled and repaid to debtors on a floating quarterly basis (eg. maturity every third month). The SEC puts a low ceiling on the amount of monies that can be raised on a venture's early stage ($1million) before reporting, which we will not illegally exceed. We note that provisions of the JOBS Act applied here would not necessarily be asymmetrical. [Assurance: all such underwriting activities adhere to federal rules+regulations of the United States of America, and are thus SEC-compliant.]
Q: Is the purchase of promissory notes a secure🔐 transaction?
A: Yes. This webpage and parent website are PCI-compliant, so your business is safe. The payment processing is handled on the frontend by Everbutton, which utilizes the Stripe API on its backend.
Q:Monies raised go where exactly?
A: Into financing and supporting the project at all stages. Foremost, we are building a distributed supercomputer mostly from the ground up. All of that information (which grows exponentially) from clients must be fed back to the jukebox which serves it, so there is a need for server upkeep+reliability. On the theatrical side, cast+crew need to be paid; we are sort of making an extended commercial here, so delivery of the message counts, and the production staff is crucial, largely so. Also used are cloud computing vendors for data backup+preservation, their services are an expense.
Q: Would my crowd note continue to increase (or decrease) in value over time, or is it always static at $1.00?
A: The principal stands firm at one dollar, so there is no fluctuation in value. You are promised interest in your stake.
Q: How do I sell my crowd note?
A: There is no way to sell your holdings, not even back to me. Assuming that you mean gifting it to another person, the note is issued in the name of the purchaser, so keep that in mind before placing an order (though it is okay for you to buy a share/note in someone else's name).
Q: Can I use money market instruments that I already own to negotiate a larger transaction?
A: Yes. First, to know that you are serious, we will need for you (or someone on your behalf) to make the maximum API (ie. via use of credit card or ACH) purchase of $50,000. Then, in the section of the shopping cart that reads: "Add a note to this payment:", enter a direct phone number, e-mail address, and statement informing us that you wish to fiddle with your CUSIP holdings. If all goes well, we will be in touch.🤞
Step 1:


Then, Step 2:

Now, actually try it out for yourself:
--Please note that you are collateralizing commercial paper which is unsecured debt.--
Q: Do notes come with voting power?
A: Nope. Promissory notes purchased here are non-voting negotiables, and have no other privileges beyond their potential interest accrual. As an insurance policy, the house (me) retains a minimum 50.01% ownership of any and all notes, so input into decision-making and/or direction is not an option that can be bought. You are strictly taking a financial risk.
Q: If I make more than one (1) purchase, will I receive multiple rewards?
A: Yes. Every perk you pay for, you'll get.
Q: Do you accept bitcoin as payment?
A: No. Even though cryptocurrencies (bitcoin, ethereum, etc.) are tech stocks in and of themselves, the hassle of brokering them on my end isn't worth the effort at this point. Please sell-off your holdings in legal tender before dealing here.
Q: When is the expected turnaround for my investment?
A: Disbursements [exit] will be surrendered no later than three (3) months from date of purchase.
Q: How is repayment delivered?
A: Spot payments (those going directly to your account) are made with PayPal or via direct deposit (maybe checkbook.io).

Note (+): You are encouraged to register with PayPal if you have not already.


Q: Is my investment sound?
A: Yes. As required by law, transactions are audited by an independent certified public accountant (probably this guy). Now, scroll back up to the picture of the pretty lady with the great smile and subscribe.
Q: Can I get a refund?
A: No refunds allowed. Funds are gathered and used immediately on production. A subtraction of financing could halt production (ie. equity withdrawal would be detrimental to credit), and so is not allowed. It is my duty/responsibility to make as much information and terms available to you before you make your choice so that you can do your due diligence in making the best decision (which will never result in rescindment).
Q: If the project were to disband, would my investment be returned or lost?
A: Unfortunately, your investment would not be returned in the case of this project succumbing to an unexpected event. Fortunately, everybody on-board is committed to seeing Easter through to completion; there's a lot at $take.
Q: What is the budget for this project?
A: Our budget is entirely based on raised funds. Post-seed growth, the budget comes directly from ad revenue derived from juking the three proteins: alpha-synuclein, parkin, and huntingtin. That ad revenue is projected/estimated to be between $60-70million, but is not set. This number (whatever it comes to) is a ceiling; the actual amount used may well be substantially lower. Keep in mind that budgeting covers pre-production+production+post-production+marketing (from idea-to-viewing).
Q: For how long does the raise last?
A: In stages (ie. seeds in a continuum of follow-on rounds) until enough capital is acquired to cover all costs/expenses throughout the entire production. This means that active fundraising can theoretically run into Q2 2019.
Q: I would like to make a no-strings attached donation to this project. How do I do this?
A: Thank you. Please use the DONATE button below (or click here).

Note (+): This is not a charitable transaction. You are contributing to a commercial venture. Do not expect your contribution to be or become tax deductible.


//tech
Q: Are you shipping a (tangible) hardware product as a result of this work?
A: No. The plan is to have the embed and all specs released as a bundle for DIY/opensource. Ideally, we want something that is neither unavailable for recall or unobtrusive to regulation.
Q: ... and no one's done anything like this before?
A: Doubtful. If something like this had been on the market already, we would have known about it. I'm sure people have wanted to do something like this, but there's a big difference between ideation and delivery. As was already stated, there are labs at universities that are attempting to do distributed computing at scale on macromolecular computation, but their approach is drastically different from what is being accomplished here. For starters, they are calculating different physics (ie. the physics engine used to run those programs is not compensating for twistor spaces), and none of them are using crowdsourced data to train ai on machine learning; only for direct responses.
Q:What's the difference between UUe.i and other major molecular dynamic initiatives?
A: There are some minor differences, but they matter. Again, each piece of software is tackling separate physics. UUe.i is the only molecular dynamics software that incorporates deep learning algorithms. Also, UUe.i is widely opensource, almost completely so (to the point where it must not stop running). The API is available to be fiddled with at any time. Lastly, the softwares have different licenses. Most 'opensource' stuff out there today is licensed through MIT or GPL. UUe.i, UUe, and Egglepple rely on the UUelcome License.
Q: Where can I learn more about methods and methodologies of urban agriculture?
A: Just use Google/Bing and watch videos about the topic online (eg. YouTube), for starters. I got a taste of 'urban farming' by getting my hands dirty at Garden City Harvest in Missoula, Montana. I recommend a book by Will Allen called, The Good Food Revolution (ISBN-13: 978-1592407606), which helped sharpen my understanding for composing portions of this opera. Basically, my education on the topic came from reading literature, watching videos, and working on sites, and yours can, too.
Q: Where can I buy some Hubert Brown rum?
A: It's not for sale. And if it is on sale, it's not being sold by me. The spirit was created just for the first chord of the arc, and is a fictional brand. That said, you can make yourself some by following the instructions. (Drink responsibly.🥃)
Q: When can I use with the ai?
A: It will be done when it's done. Monitor the GitHub if that interests you.
Q: What is/are Deepfakes?
A:
Q: Why not use multiple service providers for big computing?
A: The short answer is because since they all do the same thing at roughly the same cost, and each offer enough bandwidth to cover all of our compute needs, it's easier to stick with one (1) vendor (in this case, Google). GCP - even though it is behind in marketshare - has undoubtedly the best services at scale. Think about it, Google (which is responsible for 25% of all Internet traffic[i]) serves GMail, AdWords, the search engine, and other apps (eg. YouTube and Apple's iCloud services[z]) to billions of people at trillions of instances every day. No other provider can claim to scale those kinds of numbers at this time. Also, since engineering is of the essence here, the 2Gbps/CPU (superior to the market leader) throughput matters.
Q:Define distributed supercomputing.
A: Supercomputing is more of a notion than anything. It implies that there are hard limits on normal (single processor) computing needs, as would be the case on usual personal computers. To compensate, technicians typically expand the capabilities of the machines to include more processing power, storage management, and so forth. The 'distributed' part implies that the information loads of a single machine can be partitioned and/or conjoined in a network to handle the compute. Putting it all together, a distributed supercomputer is a multinodal system with no theoretical hard compute limits. The keyword behind distributed computing is cost efficiency.
Q:What is a protein?
A: The long-short is that a protein is a biomechanical machine (yes, a real machine!) whose function is to work within a cell. The molecule is encoded from a set number of chemical elements called amino acids that give it instruction(s) as to how to perform its function. There's a quality in-depth article on Wikipedia about this.
Q:How accurate is juking?
A: Pretty accurate. We always assume in juking that P = BQP, so there is the stochastic element built-in. We rely on string theory (a theory), and as more and more of its predictions become validated, so will our results. Juking tests for twistor spaces, which is key to making strings fold/animate quickly. The stronger our understanding of the math is, the tighter our bounds will be. Juking is the only way I know to go about doing that.
Q:How/Why did you start juking?
A: I started with puzzle design and kids stuff like yarn play back in the early 1990s. In the late 1990s, I read an expository book on string theory, took a stab at solving it, and ended up with the EGP keynote. Organically, the math brought me to create UUe. Now it all fits together.
Q:You're absent on arxiv.org. Where are your publications?
A: Maybe some day I'll get an arxiv endorsement, but in the meantime, I self-publish under UUhistlegrass (formerly UUelcome Editions). ISSN: 2165 - 6738.
Q:Which text editor do you use?
A: I prefer Notepad.
Q:What are your ultimate goals with UUe/UUe.i?
A: Double U economics.
Q:I have privacy and/or security concerns.
A: In an effort to assuage your concerns, just know that the embed is NOT keeping tabs on your browsing history or online behaviors beyond what is necessary to run the software (you can review the source code if you wish). The only thing it is designed to do is let jukers play, and report those call functions back to the server. As far as it being installed on your system, this is a secure process that won't expose itself to other hubbed data without your permission.
--------


📄Gazette

/Factsheet
Title: Easter:Die, Detective! [truncated to Die, Detective!]
Conductor: lnq
Genre: War
Studio: LES
Release date: April 19, 2019
Running time: 200 minutes
Sites: public cinemas (wide), mobile platforms (universal)
Hashtag: #Easteropera


/About
- Easter is an opera by Link Starbureiy. It is composed in an arc of five chords. The first chord, Die, Detective!, exploits Parkinson's disease (alpha synuclein) as its subject. The fifth and last chord (postlude), ChordH, is an elemental revamp of Nothing Lasts Forever (NLF := Die Hard). Thus, the complete arc of Easter is a reimagining of the original The Detective series by Roderick Thorp. It aims to refresh+provide closure🔒 on both ends. [sequel to The Detective, prequel to NLF]

/Blurb
The reactions of a framed sleuth lead him out of retirement and into civil war.

/Tagline
Joe Leland versus John McClane


/Snippets
- the story picks up with Joe Leland (/John McClane +all accustomed problems in tow) having moved from New York City (by way of Idaho) to Philadelphia [now volunteering (his mandate for a healthy pension) with the Philly Police Department]
- Leland is of advanced age and retired
- Leland serves as a mentor to a trainee rookie cop
- the series/franchise gets its first (main) female villain (coloratura by Maundy)
- Die, Detective! is approximately 3.25 hours long, making it the longest episode in the series, in stark contrast to the previous entry, A Good Day To Die Hard (TD6), which was the shortest (and worst-reviewed[i][ii])
- this is classified as a war drama (not as an 'action flick') that features a large-scale ethnic conflict stemming from modern-day issues (eg. oppressive police brutality, rise of ideological pluralities, etc.)
- after getting arrested, Leland situationally finds himself as the last responder amidst chaos where he must use his considerable detective skills and military background to piece together clues in a game of survival
- Leland re-teams with Al Powell (reprised deuteragonist) for stretches
- Heisman Trophy winner, Eddie George, plays a Navy SEAL whose squadron gets caught up in the meanest urban warfare
- 1 million [106] casualties, including major franchise characters (hint: check the title)
- Leland's son and daughter have been replaced with new actors
- we get an in-depth look at the protagonist' backstory (especially military/pre-cop and early career+marriage tidbits) from stitching together flashbacks. >> In doing so, we learn how "Joe Leland" became "John McClane", and, thus, uncover his origin story (an offered overture)
- a much darker, layered, mature, incredibly deep, and considerably more realistic "adult look at police life" in the same vein as Thorp's and W.E.B. Griffin's prose, versus the hazy 'shoot em-ups' of prior offerings
- the cinematic style is telepresence


/Quotes
CONDUCTOR'S STATEMENT (a)
"I wanted to compose something that spoke or speaks to the social turmoil in the world of today, and at the same time provides a potential solution. Piggybacking on some of the most popular Americana provides just the experience for me to do that. Joe Leland/John McClane has been portrayed by two of the most iconic film actors of all-time, Frank Sinatra and Bruce Willis, respectively. That said, they're more well-known than he is. The only way to know who he really is is to explore him. -- His journey deserves a proper destination. -- The challenge was to modernize a timeless relic. So with Die, Detective!, we've done just that." - Link Starbureiy
CONDUCTOR'S STATEMENT (b)
"We had to accept that moving on from Joe Leland's saga was an eventuality. His substance abuse, state of mind, and instability ultimately and inevitably forced the drama to naturally - organically even - transition around a different character, his son, Joey. There's smart continuity in the storytelling here, with so many tie-ins to real-world happenings, that it makes sense that a younger person - especially one who is a government liaison - would be energetic enough to tackle them head-on." - Link Starbureiy
CONDUCTOR'S STATEMENT (c)
"The decision to stereoscope telepresently came about from sampling shot selections within set/scene design. Giving the audience a 'place' of their own within the opera was something that I wanted to achieve since its conception. There are too many characters, subplots, and angles to simply focus on one perspective; the viewer should feel as if they're connected to different actors in realtime. This wasn't an innovation that could be accomplished with rhetoric alone, it had to be done with the camera+effects, which is the reason it was photographed on mobile." - Link Starbureiy
RESEARCH STATEMENT
"Parkinson's and by extension, Huntington's Disease, are major unresolved biochemistry problems. Wisdom points us in the direction of alpha-synuclein, a protein that is abundant in the brain, and (to a lesser extent) other organs like the heart and muscle tissues. Posturing that the Leland character would have sustained some serious physical injuries over the course of his storytelling, it is reasonable to hypothesize that the trauma he endured could manifest itself as one or both of those diseases, and this lends itself perfectly to research. More interestingly, α-synuclein and dopamines (which find their way into the .DD storyline via huckleberries) are at the crossroads of understanding this neuropathology. One of the foundation driven studies by the MJFF seeks to model (and eventually solve) the protein and its pharmacology. From my point-of-view, this is a juking problem.😋" - Link Starbureiy

/Announcements
- Glenn Close as Maundy in Easter
- 'The Detective' reboot greenlit
- Reginald VelJohnson will reprise role of Al Powell in Easter:Die, Detective!
- Ric Flair to be featured in Easter:Die, Detective!
- Marc John Jefferies to play 'Roscoe' in Easter
- Dianne Wiest as Marty Abrams in Easter


/Third-party reporting
- Bruce Willis Says He's 'Very Happy About Story for Next 'Die Hard' Movie! [Entertainment Tonight]


- Ric Flair: Movie Star [Cageside Seats]
- WWE News: Ric Flair Lands Another Movie Role, The Rock Celebrates International Women’s Day [411 Mania]
- Ric Flair Lands Another Movie Role, Why WWE Events In Canada Were Cancelled [eWrestling News]
- Ric Flair Booked to Star in Multiple Films [Pop Culture]
- Lesnar Attacks a Referee, News on Austin Aries at ROH, Ric Flair [AllWrestling]
- WWE Symphony Of Destruction Bonus Footage, Another Ric Flair Film, Killian Dain On The WWE NXT Title [Wrestling Inc]
- Latest Titles With Glenn Close [IMDb]
- WHERE IN THE WORLD IS DAVE BAUTISTA, FLAIR MOVIE ROLE, PATRON VS. SWAGGER IN CHICAGO AND MORE NEWS [PWInsider]

/Homework
The audience is encouraged to, if they have not already, familiarize themselves with the following works of Roderick Thorp: The Detective [ISBN: 0-8488-0375-2], and Nothing Lasts Forever [ISBN-13: 978-0393012491]. Both of these novels have been adapted to film; The Detective (The Detective) and Nothing Lasts Forever (Die Hard[i][ii][iii][iv][v]). Additionally, themes and material for Easter:Die, Detective! are sourced from the autobiography, Die Nigger Die! [ISBN-13: 978-1556524523], by H. Rap Brown, as well as the DIE HARD: Year One [ISBN-13: 978-1608865062] comic book(s) by Howard Chaykin.


/Trivia
- Samuel L. Jackson, who played Zeus Carver, was an acquaintance of civil rights activist H. Rap Brown
- Glenn Close and Bruce Willis share a March 19th birthday, have both owned separate properties in Montana, and each have a daughter the same age (Annie Starke and Rumer Willis)
- thirty-year anniversary of Die Hard (movie), forty-year anniversary of Nothing Lasts Forever (1978/9 novel), and fifty-year anniversary of The Detective (1968 film)+Die Nigger Die! (1968/9 book)
- Leland was given the middle name 'Pascha' by Starbureiy as part of the character's profile
- this opera features a Heisman Trophy winner (Eddie George) and a Cirque du Soleil performer (Amrapali Ambegaokar) in it
- SPOILER: In the original Die Hard movie, the lot at Fox Studios headquarters served as Nakatomi Plaza. In Die, Detective!, some of the familiar action sequences take place in the Comcast Center (Comcast is the parent company of Fox).
- SPOILER: Sgt. Al Powell drops the bomb on Fer's bunker from a helicopter. In the actual 1985 event, Lt. Frank Powell of the PPD was the one who dropped two (2) one pound bombs on the MOVE compound.
- Carl Weathers (Dominique McClane) and Bruce Willis (John McClane) both starred in action movies (Action Jackson, Die Hard) where they played a police lieutenant that same year (1988).
- this project is, in part, underwritten with crowdfunding


Recognition
- 2018 Nominee (Conductor, Director, New Production), International Opera Awards[i], 2019 Pulitzer Prize entrée (for Drama and Music)

/Imagery
{Right-click -> Save}

(184 kb)


----------

/Flash
Police officer John McClane may be terminally ill
A hero to many, Lieutenant John McClane is sadly now sick with Parkinson's disease.

For the past thirty (30) years, Officer McClane has put himself out there in the line of duty and saved many lives. Now he needs your help. We're not sure how much time he has left, but this doesn't look good.

On a positive note, a supercomputer is being built to find a cure and therapies for Parkinson's and similar pathologies.

We'll keep all those who are afflicted in our prayers.
#BlueLivesMatter We are happy to take you on a conclusive journey in bidding adieu to our favorite cop.  Here, you get a first-hand account of my thinking into the development of this masterpiece.  Performance-wise, I want Easter to be(come) one of the top-grossing and most highly acclaimed operas ever, that's what I'm going for. Enjoy.🤠
Link Starbureiy